The ancients, in accordance with musical sounds, wrote them down in tablature. They considered the hand positions as if they were physical objects, indicating a profound significance. This (significance) is difficult to understand. And sometimes they are traditionally written down incorrectly, and even more, difficult to distinguish. Now I am familiar with a lot of educated (people) and have received their writings and verbal explanations. Although I have not received all of the possible knowledge in this regard, it approximates pretty well the feelings of the person and the principles of the matter (of these techniques), and I can teach this to people just beginning to study this. I wouldn't dare to try to set myself up as a teacher of this to people who already understand music.

The finger of heaven is what the right thumb resembles;
The finger of earth is what the right index finger resembles;
The sun finger is what the right middle finger resembles;
The moon finger is what the right ring finger resembles.
A great wind is what the left thumb resembles;
A light cloud is what the left index finger resembles;
A high mountain is what the left middle finger resembles;
A plunging river is what the left ring finger resembles.

Qin tablature says,

Whenever the thumb goes inward it is called thumbing/tearing
(擘 bo);
Whenever the thumb goes outwards it is called dragging
(托 tuo);
Whenever the index finger goes inwards it is called rubbing
(抹 mo);
Whenever the index finger goes outward it is called picking out/arousing
(挑 tiao);
Whenever the index finger arouses two or more connected strings it is called passing across (歷 li)
Whenever the middle finger goes inwards it is called hooking
(勾 gou);
Whenever the middle finger goes outwards it is called scraping off
(剔 ti);
Whenever the ring finger goes inwards it is called hitting
(打 da);
Whenever the ring finger goes outwards it is called plucking/picking
(摘 zhai).

Eight windows are all open,
and the night is very peaceful.
A solitary man sits in a quiet room,
playing a jade-studded qin.
(The sounds) are fortuitous, with a spirit of harmony,
and the propitious phoenix seems to be dancing.
Jade blue heavens are peaceful,
the water-dragon hums.
Through the half-open curtain the bright moon can be seen,
there is a peaceful mood.
The tune is Bright Spring (Yang Chun),
it is a most ancient air.
The playing finishes but the player doesn't realize,
the stars have moved across the skies.
He is filled with the feelings of spring,
which completely penetrate his clothing.

The 33 illustrations (17 for the right hand, then 16 for the left hand) below are not numbered in the original: numbers are added here for ease of reference. None of the editions of this book has a title for this section. The tables of contents in QQJC, for both Taiyin Daquanji and Xinkan Taiyin Daquanji, call this section Hand Gesture Illustrations (手勢圖 Shoushi tu), and
QFTGYY has the same, so that title is used here. All illustrations consist of two parts but they are not identical: as the illustration at right, one of 33 (half of suoling is missing) from the edition in the National Central Library in Taiwan shows (expand), both the text and the image, though related, can be somewhat different. It seems that in the original each of these was on the same folio page, which meant that as traditionally bound they did not face each other. This is revised here so that on the left are the poetic evocations, which all begin "Xing says" (興曰 Xing yue"). Here "xing" refers to a brief poem.7 On the right are the explanations. In the original the commentary of course follows the traditional pattern of top to bottom and right to left, hence the 1.a. is on the right and 1.b. on the left.8 It is not clear why a number of important early techniques were not included here.9

1.b. In the manner of a crane dancing as a result of being startled by a breeze

The cool autumn breezes suddenly arrive.
The wild brown goose arrives as a guest.
It grasps a rush plant (and seems to be heading) to the south.
It seems to be going there relying on 仁 ren (which is supposed to exist in the south.)

It can avoid going through the passes (in the Great Wall, which others cannot do) and abandon (the stick?). He transmits his sad sound, which moves people

換指鎖 Huanzhisuo (change fingers chain) is written (see above)旨巛
First da the ring finger, gou and ti the middle finger, then tiao and mo the forefinger, then do a fan suo. The rhythm is the sound of changsuo.

The clouds have a dragon amongst them,
It cannot be confined to a pond.
Its head and its horns are lofty and dignified,
The changes it goes through are many.
The position is a "correct nine five",
Time is appropriate for exaltation.
It seizes (the clouds?) and rises,
As though held together, the clouds all follow. it.

齊撮 Qicuo (evenly pinch) is written "(see image)" or "早"
(as here)
If you squeeze the 1st string together with the 6th string evenly as one sound it is called qicuo (repeated with different fingers in #7)

齪捉 Chuozhuo (grate and grasp) is written 足
Although this figure is rare (it is used in some pieces in
Shen Qi Mi Pu and elsewhere), it is used in the same way as qicuo.

The cicada's nature is that it is solitary and untainted (by the ordinary).
It's lengthy call expresses its own gaiety.
The praying mantis vigorously extends its arms.
With each step it takes forward, the cicada takes a step backwards.

It is also said, The performance of qicuo followed by fancuo is very much like these movements. (See Cai Yong for a well-known cicada and praying mantis story.)

齊撮 Qicuo (evenly pinch [repeats #6 but with different fingers])
反撮 Fancuo (unpinch) is written 反早

If the cuo is being performed on the 3rd and 5th strings, then the thumb pushes out (together with the) forefinger (as it) does a tiao on the 5th string. (At the same time) the ring finger performs a da (#14) on the 3rd string, making one combined sound. After this sound the thumb and ring finger will come together on the 4th string.
As for fancuo, (if still on the 3rd and 5th strings) the 2nd finger performs mo on the 5th string and the ring finger does da on the 3rd string, making one sound.

Crabs seem to come together then separate.
Its natural temperament becomes apparent.
It is soft on the inside and hard on the outside.
At the rice-eating grub it rises up and stares.

You can see the style it uses of turning up and down as it walks. This resembles the sentiments of the movements lun and li.
[Yin shi:] "Rice eating grub" (dict.: mao) sounds like "try" (dict.: mou/wu). "Stares" (dict.: deng/cheng) sounds like "stretch out" (cheng); (it means) directly look at the form.

輪 Lun (revolving) in tablature is written (see above; also: 冂). Flex the three fingers and hold them in the vicinity of the 3rd and 4th stud. Then perform in succession zhai, ti and then li on one string. This is called lun.
If the tablature says "lunli the 7th and 6th strings", this means first to lun the 7th then li the 6th.

倒輪 Daolun (overturned revolving) is written (see above). Use three fingers to quickly mo, gou then da one string. This is called daolun.

A group of bells suspended from a rope.
[Yin shi:] "Suspended" sounds like "folio" (juan). It means hang.
The hand is drawn in to shake them.
Together they ring out qiang qiang.
They ring together as if being played in unison.

Merely obtain this appearance in order likewise to shake the string. (The sound) naturally flows high and low, while extending outward to a great distance.

索鈴 Suoling (roped bells*) in tablature is see above or 糸令
If you use the left thumb at the 7th stud pressed down** on the 7th, 6th and 5th strings, then do a lun going over everywhere, this is called suoling.

* VG: name of a music instrument, but 27927.xxx.
** "pressed down" (an): VG says suoling should be played as harmonics (fan), but the earliest example I have found, in
1525, uses an). The reference to lun is confusing: could it be a gun (see under gou) somehow repeated?

10.b. In the manner of water from a spring
cascading in a deep valley

10.a. Right hand forefinger and middle finger
(the explanations below are separated line by line)

The empty valley is deep and serene.
The cold spring rushes down.
Bubbling-bubbling it hits the rocks.
Splash-splash cry the water pellets.
[Yin shi:] "Splash" sounds like "dart" (jian).

Realize the sound according to this example. The die (duplicating) finger techniques all seem to be quite resembling this.

(*Juan [see at right] is usually considered to consist of a rapid mo then gou on one string, but it may be on more than one string, in which case typically one might either mogou the first string then the second, or mo the first and second, then gou the first or first and second.)

The (female) phoenix flies about the high sentry posts
(in the mountains);
The (male) phoenix wanders through layer after layer of cliffs.
The cries they make together are of a similar nature:
"Yongyong jiejie".

(In the same way you should) grip the two strings and pull them at the same moment. If it resembles this sound, it will be harmonious.

圓摟 Yuanlou (round embrace) is written (see above).
爰摟 Yuanlou (leading embrace) is written 爰 ( 婁 ?)
If, for example, you used the forefinger to execute mo on the 5th string, then with the middle finger you gou the 4th string (then with the forefinger mo or tiao the sixth string*), playing them evenly and clearly, making one sound, this is called "yuanlou". It is the same as what is called in
Xi Kang's
Rhapsody "pilou" (** 批摟 but 批 is written 媲 with 女 on the left replaced by 手: see 6/804).

(* added by the translator to correspond with tablature as found in
SQMP, etc.)
(** VG, p. 104, says no one knows the meaning of this figure [actually written loupi] plus the following one, 擽捋 luelo.)

Thunder and rain act as explanations.
The waves are stirred, froth is aroused.
[Yin shi:] "Froth" sounds like "rub" (mo)
A fish is about to metamorphose (?).
It shakes its tail back and forth , splashing the water.
[Yin shi:] "Shakes" sounds like "tune" (diao).

Using this as an example will bring out the right style. Join the fingers together and whirl them quickly. [Yin shi:] "Quickly" (瞥 pie) sounds like "inclined" (偏 pian), entering tone.

There is a bird that only has one foot.
It is a smart bird that can predict rain.
When the skies are about to pour down in a long, heavy rain,
(the bird) rouses up his feathers, taps, and dances.

Bend the ring finger as you approach the string.
They are all investigating irregularities as they lift their wings.

打 Da, in tablature written 丁 (see also #15)
摘 Zhai, in tablature written (see above)
打摘 Dazhai, in tablature written (see above)

Pulling the string inward is called da.
Pushing the string outward is called zhai.
Together pushing then pulling is called dazhai.

(Transl: earlier explanations of da do not specify the finger. But note that here, although the finger is not mentioned, at left the finger is called 名指 mingzhi, short for 無名指 wuming zhi [no-name finger, i.e., ring finger], and the illustration above shows the ring finger executing the stroke.)

15.b. In the manner of a supernatural tortoise coming out of the water

On its back a diagram is drawn out.
When it walks one (step), it supports nine.
It is about to hunch up its shoulders,
and must raise up its head.
[Yin shi:] This means raising high, lifting its head.

This (hunching and raising) should be compared to the motions tiao and da. It provides evidence that the former ancients were not improper.

打 Da (hit) in tablature is written 丁 (see also
#14)
挑 Tiao (picking out/arousing) is written (compare li, now usually for multiple strings)
Pull the thumb to stabilize the forefinger, which pushes the string outwards; this is called da. If the ring finger also does a da, it is called tiaoda.

打員 Dayuan (hitting in a circle: should be 打圓) is written 丁員 or (see above)
For example, tiao the 6th string, da the 3rd; connect three tiao and also connect three gou:* altogether it is six sounds, at first slow then quick. Two sounds make one phrase. First play a phrase, then duplicate it three times.

(* Transl: all three versions are different here, none making sense to me. My interpretation is 連作三挑 [instead of 絃]，連作三勾 [others have 句], allowing the sequence to be, as is commonly understood, 挑六、勾三，挑六、勾三，挑六、勾三.)

The dragon lives in a cave dwelling.
On a peaceful night it lets out a long cry.
It is like gold and like jade.
This is the best of all sounds.

How can (the dragon) be compared with a supernatural being? Rather, in a hidden way it unites with the heart of the qin. [Yin shi:] "Hidden" means "secret". "Unites" means "harmonizes". (If) something "in a hidden way unites", (in fact it) secretly harmonizes.

小閒勾 Xiao Jian'gou (short divided hook) is written (see above) or (also see above)
If you dayuan a stopped 3rd and open 6th string, then gou the 4th, da the 3rd and tiao the 6th, it is called jian'gou; if there is no dayuan, then it is no jian'gou, but simply gou and da.

大閒勾 Da Jian'gou* (long divided hook) is written (see above)
First do a dayuan, the gou the open fourth, da the third and fourth, gou the third (again), tiao the open sixth, it is called da jian'gou.

(* Transl: For da jian'gou, QFTGYY has only, "If (the dayuan?) has one sound (i.e., one phrase of the dayuan?) it is called xiao jian'gou; with two sounds it is called da jian'gou.

Here there is a flock of birds, there footprints.
There is nothing blacker than the crow.
They are hungry and peck at the snow.
The flavor is not moist.

Accordingly if more than lightly playing... its manner is empty and slow.(?)

單彈 Dantan (single play) in tablature is written (see above)
Hooking the thumb around the forefinger, then plucking outwards with this one finger is called dantan.

雙彈 Shuangtan (double play) in tablature is written (see above)
Using the thumb to hook around the forefinger and middle fingers, then one by one plucking the (same) string outwards with (the two fingers), is called shuangtan.

三彈 Santan (triple play) in tablature is written (see above)
Hook the thumb around the index, middle and ring fingers, then one by one pluck outwards on the string. This is called santan.

18.b. In the manner of the supernatural phoenix grasping a letter in its mouth

Look at that howling ape.
It is trying to climb up a tall tree.
It wants to go up, but cannot.
It seems to go little by little.

Heavily put the fingers into a small place, desiring marvelous speed in coming and going (on the string, as up and down the tree).

猱 Nao (monkey) in tablature is written 犭
Press down the thumb and take advantage of the sound (from plucking the string) by pulling out (towards?) the studs a little bit. Quickly return from (?) the stud to attain this sound. It is written nao because it resembles a monkey climbing a tree, grasping on in order to climb, and crying out. [Yinshi:] Nao sounds like "clamor" (呶 nao); it is a kind of monkey (Transl.: my teacher called it "揉 rou", rub/twist)

微猱 Weinao (small nao) is written 山犭
細猱 Xi'nao (fine nao) is written 幺犭
敦 Dun (esteem) is written 亨; it's the same as weinao.
畜猱 Chu'nao (restrained nao) is written 玄犭. It's a coming and going nao. Words cannot describe chu (nao) very completely. (Transl: I have never seen it used.)

The long whistling noise begins.
Right away it causes vibrations in the woods and in the foothills.
Whatever the sound is, that sound replies back,
here in the empty valley.

So it is when the ring finger is pressed down and the thumb executes a yan. You want these sounds to continue mutually (i.e., the resonance to continue?). [Yin shi:] "Foothill" sounds like "deer" (lu); it means the foot of a hill.

罨 Yan (net, extend net, cover) in tablature is written 內 or 奄 or 电. First place the ring finger (for example) near the 10th position, then use the thumb to (cover as with a) "net" the 9th position, making a sound; this is called yan. Others are all the same (as in this position). [Yin shi:] "Net" (dict.: yan) is pronounced as 庵 "an" ("hut", but people today say "yan"), entering tone.

(Transl: My teacher said that with yan the thumb should be put down firmly but gently, avoiding the slapping sound one often hears, particularly from beginners.)

The solitary bird avoids people.
It goes around the tree chirping.
It looks for grubs, stripping (the bark off the tree with its) pecking.
Its sound is knock-knock.

Make the sound xuyan according to this example. The resulting sound is like that tapping. [Yin shi:] "Grub" sounds like "jealous" (du). It is a wood bug. "Knock" (丁 usually ding but the dictionary also gives zheng) sounds like "wrangle" (爭 zheng).

虛罨 Xuyan (empty covering) is written (see above).
Don't pluck (with the right hand) and don't set down (the ring finger as in the previous technique). Simply yan the string with the thumb, producing this sound; this is called xuyan.

虛點 Xudian (empty dotting) is written (see above).
This is the same as (xu)yan, but perhaps use the ring finger, in accordance with the tablature.

Look at the beautiful oriole in front of you.
It has moved into a fragrant wood.
As it flies it cries out, seeking friends.
Its sound is "toufan".

睍睆 "Toufan" (see note below) is also the robust sound of putting down the finger in this way. It is also like the soft chirping of a bird in spring. [Yin shi:] "Tou" (normally xian) sounds like tou (head); "fan" (normally huan) sounds like "opposite" (fan). It is a warning sound.

按 An* (press down) is written 女
Pressing the fleshy part of the forefinger down on the string is called "an". If it is in the 7th position the tablature writes 食七 or 人七.

(手兜) Dou** (lift up, control) is written 兜 . Using the fingernail (of the left hand) to gou a string up so there is a sound is called dou.

* 按 an is usually not written in the tablature: compare #s
#s 18, 23 and 24, which concern other fingers.
** I have never seen dou written in tablature, but it seems to be the same as what is normally called 帶起 daiqi (written 巾己.)

It is a pleasant time: see the wild pheasant.
It flies in the early morning,
and climbs into a tree in order to cry out.
Its sound is light and unhurried.*

This is the meaning to attain in comparison. Thus it is not something which can be described in writing.

(* Transl: This last line has six characters (音清清而不疾), making it the only line in all the quatrains to have more than 4 [not counting 兮 xi].)

按 An* (press down). Bend the thumb close to the palm, then stand (the middle finger) on its end. If the middle finger presses down in the 10th position, its notated as 中十 . The others are like this.

推起 Tuiqi (push up) is written 推己 (also 扌己)
推出 Tuichu (push out) is written 推山 (also 扌山 or 扌出)
If you press down the (middle?) finger, sliding it down along the string then pushing up, making a sound it is called tuiqi.
It is also said that if you slide the finger down below the 13th position then push it up it is called tuichu.

* 按 an (see also #s 18,
22 and 24, which concern other fingers); no indication of tablature, perhaps because when it is used as here, with the 3rd finger, it is not written in the tablature

There is a phoenix living in the wutong tree.
It neither flies up nor cries out.
Its intention is to fly up into the middle of the sky.
It also is rubbing its feathers.

When the ring finger is placed down, the thumb is bent in. It is because of this mannerism that it is named.

按 An* (press down). Bend in the thumb close to the palm, and press down with the fingers in this position. If the ring finger is pressed down on the 10th position, it is notated 夕十 . Others are all done the same way.

* 按 an (see also #s 18,
22 and 23, which concern other fingers); no indication of tablature because when it is used as here, with the 4th finger, it is usually not written in the tablature

There is a leopard looking for a change.*
It lives stealthily in the southern mountains.
It embraces the small prey in preparation for eating it.
You can see its spots if you look at it secretly
from a nearby vantage point.

One should imitate this attitude when playing the sounds. Perhaps the relationship is in the actions of the (leopard and the qin player).

* i.e., a change in the environment, indicating a foe or prey is nearby

跪 Gui (kneel) in tablature is written 危 or 足 (see above)
and also 跪 (see also 拶對 zandui13)
Bend the ring finger and then place it on the string (so that it touches between the base of the fingernail and the knuckle). This is called gui.

With wings it makes sound.
Only the cicada knows that the time is near.
It is the height of autumn and the temperature is cool.
The long humming sound brings on sadness
(because it occurs most often in autumn?).

Understand this sound of the cicada and then you can obtain this sound. This very same meaning is used to strive for it.

吟 Yin (intoning) in tablature is written (今 or see above)
Putting down the finger so as to achieve the sound, then moving with a fine motion, not moving the finger beyond the position, is called yin. Sometimes one might use the fingernail, other times the flesh is used. If the thumb is put on the 1st string (or one string), then the nail is used. If it is put on the 2nd string (or two strings), the flesh is used.

The fallen leaves follow the water flow;
submitting to the current, they go.
This is what the advancing or retreating of the waves stirs up.
They want to stop, but cannot.

In accordance with this manner, a comparison is obtained. If you can attain the meaning, you will understand.

遊吟 Youyin (wandering intonation) is written (see above)
Press the finger down and make the yin sound as though it were waves flowing. Sometimes you might only go slightly beyond the (stated) position, other times you might go more, half a position .

The cicada is in the raven's mouth.
As the raven flies, the cicada is swallowed.
From west it heads east.
Then the sound is gradually extinguished.

This is made beautiful by going through the procedure. It is difficult to talk about and describe in detail. [Yin shi:] "Swallow" sounds the same as "visit" (ye). "Heads" sounds the same as "help" (zu/zhu).

走吟 Zouyin (walking intonation) is written (see above)
Press down the finger and, following the sound, draw up
(yin) a little bit, simultaneously doing both
yin (vibrato) and
yin (drawing up). Stop when the sound finishes.

The white butterfly* is wafted on a flower.
Its wings are light, the flow is soft.
It wants to go but cannot go.
It is as though it is remaining, but not remaining.

Obtain this meaning in order to allow it to be called "floating". It is like the light floating of the surface of the finger.

* 粉蝶 : "pieris rapae"

泛 Fan (floating; You Lan has 汎) is written 丿(but more horizontally)
Use the tip of the finger at the same time that the right hand strokes the string. It should float on top of the string, causing the string to move and sing. This is called fan.

泛起 Fanqi (floating begins) is written 丿己
It means for the floating sounds to begin.

泛止 Fanzhi (floating stops) is written 丿止.
It means for the floating sounds to come to this point and stop.

The dragonflies are countless.
They hover around the water's edge,
flying slowly.
Dots open up to floating ripples.

This is like facing the studs and 互泛 "mutually playing harmonics" (?); this kind of thing is like that. [Yin shi:] "Floating ripples" (lianyi) means "ripples on the water".

互泛 Hufan* (Mutually floating) is written (see above)
A floating sound performed with two fingers crossed over is called hufan.

* The original has 牙泛 yafan ("tooth float", or it could represent the sound "ya"), perhaps a misprint, as it does not seem to make sense. Could it mean playing two notes simultaneously? Since I have never seen this figure in early tablature, it is difficult to verify.

The swallows are flying all around.
They are different from their feathers.
They follow those flying insects.
Suddenly they come, immediately they go.

Retreat and advance as you push upwards and downwards. Obtain this and use it as an example. [Yin shi:] "Different from" sounds like "blemish" (疵 ci). Different from their feathers: not arranged in their appearance. (?)

抑 Yi* (push) is written 卬 .
This means press down the finger, pushing upwards, then pushing back down.

1.Folio 3 (complete) : Hand Gesture Illustrations （QQJC I/53-70;
30 Volume edition I/63-80)
In the 1970s, when I was studying guqin in Taiwan with
Sun Yu-ch'in, I made a rough translation of this passage from a copy of Taigu Yiyin preserved in Taiwan and included by Dr. Tong Kin-Woon (TKW) in his Qin Fu (QFTGYY), pp. 55 - 72; it is here modified according to the mostly identical passage in Taiyin Daquanji printed in QQJC 2010 edition Vol. I/63 - 80), referred to by TKW as the "Yuan Volume" (see his #6), after its supposed editor, Yuan Junzhe. When putting it online I tried to make corrections, but a number of passages still elude me.
(Return)

4.辨指 Bian ZhiAs the image shows, these were originally written together.
(Return)

5.Poem of playing the qin, written by
Yuan JunzheThis poem by Yuan Junzhe is not in the Zhu or Yuan volumes, so it is copied here from the Taigu Yiyin in the National Central Library, Taiwan; it is also in QFTGYY, p. 56. It is a shi with 8 lines of 7 characters each, the rhyme scheme being ab, cb, db, eb.
(Return)

6.
QFTGYY, the Zhu volume and the present Yuan volume all have the same 33 pairs of illustrations, in the same order (first 17 for the right hand, then 16 for the left hand), with the same images, though they may be drawn differently and the text is also somewhat different (the two later texts including some additional finger techniques within some of the illustrations). In QFTGYY, TKW has numerous comments pointing out the differences in the texts.
(Return)

7.Xing (興)
All of the left hand commentary begins, "Xing says" (興曰 Xing yue). Here xing (4th tone) refers to a form of indirect metaphor or simile, first found in the Book of Poems. ICTCL, p. 693, etc., compares xing to 比 bi, which is a direct metaphor or simile. All of the xing here for right hand techniques are 4 x 4 (four character lines x 4) except for #6, which doubles this (i.e., is 4 x 8) and also adds a 兮 xi at the end of the first, third, fifth and seventh lines. The xing for the left hand techniques are also generally 4 x 4, with QFTGYY, the Zhu and the Yuan editions sometimes differing on whether there is a xi at the end of the first and third lines. For some reason #23 adds two characters in the 4th line. In most cases the xing is followed by a brief comment.
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8.
Of the four handbooks considered here, only the incomplete Taigu Yiyin has its own table of contents. Towards the end of the second folio (see QQJC 2010 edition, I/26) it lists two sections (both missing), one called "17 right hand gestures of appearance and method representations" (右手勢形法像十七條), and one called "22 left hand gestures of appearance and method representations" (左手勢形法像二十二條). Perhaps "22", is a mistake: none of the Ming handbooks has so many sketches -- in fact they are quite uniform about having the same illustrations. Briefly, the other Ming dynasty handbooks with sketches have the following:

Same pairs of illustrations and very good sketches, but omitting most of the text: Yangchuntang Qinpu;

Chongxiu Zhenchuan Qinpu and
Qin Shi both omit one of the left hand 32 illustrations and have sketches only of hand techniques; they have the names of the nature representations, but not the sketches.
(Return)

9.
Van Gulik, Lore, pp. 122 - 136, explains 54 symbols as part of a section called The Symbolism of the Finger Technique. Some of the techniques explained there, and also found in early tablature but not included with the above illustrations, include:

撞 zhuang, usually written 立
A quick left hand (usually thumb) slide up and down

進復 jin fu, usually written 隹 plus the top of 复
A slower left hand slide up and down

分開 fenkai, usually written 八 over 开
For example, do a mo with the left thumb in a certain position; after striking the note slide the thumb up, then do a
zhu back to the original position as you do a
tiao.

往來 wang lai, usually written 彳來
After striking a note with the right hand, the stopped left hand finger slides up and down twice

放合 fang he, usually written 方合
After the right hand strikes a string with a left hand finger stopped in a certain position, the left finger pulls and releases the string, making a second sound that is simultaneous with a sound made by the right hand striking another string.

11.擘/劈 (bo/pi) vs. 托 tuo: in/out?Compare the instructions here at image 1 with those in the old Taigu Yiyin. It is not clear how these two became reversed, but today the instructions given here seem to be more common.
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12.Revolve (輪 lun), described as crab walking (蠏行 xie xing)The description here perhaps suggests that the crab in question is a land crab (I am not familiar with the habitat of the "蟊 rice-eating grub").

The technique 輪 lun may also be described as 摘剔挑 zhai ti tiao, which has the same meaning of right hand fourth, third then second finger plucking outwards. In some cases the tablature calls for the three notes to be played with the left hand fingers also "revolving", stopping the string with the second, third then ring fingers, all at the same position. There is an example near the beginning of the 1425 Meihua Sannong.

As for 倒輪 daolun, I have not yet seen this in early tablature, but there is tablature that writes out the technique. For example, near the beginning of Section 7 of the 1525 Feng Qiu Huang a phrase begins with the right hand techniques mo gou da. Here the left hand corresponds by stopping the string with the second, third then ring finger, as described above. But here, instead of calling this 倒輪 daolun, there is the explanation "a big crab walking" (大蠏行 da xie xing).
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13.跪 gui (kneel) vs. 拶對 zanduiWith gui the curled left ring finger can also stop the string using the fingernail; this is especially true if the shape of the finger in between the nail and the knuckle is concave, in which case one cannot get good contact pressing the finger down in that area in between. In any case, pressing down with the nail usually involves developing muscles in the left ring finger, while pressing down with the flesh may require developing a callus, especially if sliding is involved, as it may in particular be with zandui.

拶對 zandui (12359.2 拶指：舊時酷形之一 Punish by squeezing the fingers: in olden days a cruel form of torture)
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14.Left hand thumb and ring fingerThis entry, 對按 duian, makes no mention of 對起 duiqi, which is much more commonly used in tablature; in qin songs 搯起 taoqi, used here to describe duian, seems sometimes to be suggest a contrast with duiqi. Further details are as follows:

對按 duian vs 對起 duiqiThe explanation above says that to do a duian the ring finger is placed down then the thumb does a taoqi, i.e., it pulls the string upwards. Descriptions of duiqi are usually the same as duian (see, e.g., 1539 at II/18 and II/55). However, in qin melodies with lyrics the pairing is sometimes different, with duiqi sometimes having one (on the left hand pluck) or two characters (the first one added to the previous note, the second to the left hand pluck), while taoqi may have only one or none at all. However, there does not seem to be consistency on this.

搯撮三聲 taocuo san sheng
(aka 掐撮三聲 qiacuo sansheng)
This technique is an expansion of this 搯撮
taocuo, usually following a cuo on two strings, one stopped with the left ring finger as described above. First the left hand follows this cuo with the taocuo (yan, tao then another cuo), then the left hand does a double yantao (yantaoyantao ) followed by a final cuo. This is presumably called sansheng (three sounds) because the yan and tao are each done three times. There are other ways to do this technique, but this is the way I learned it. There may again be the uncertainty described above of the pitch produced by tao.